The New York Times' Scores

For 20,312 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
20312 movie reviews
  1. Imagine a cut-rate "Titanic" stripped of romance and historical resonance and fused with "Jaws," shorn of mythic symbolism and without complex characters, and you have the essence of this live-action horror comic.
  2. In the end the elaborate gimmickry of Inspector Gadget cannot conceal its very ordinary storytelling.
  3. This latest special-effects free-for-all from Jan De Bont is a lavish illustration of how to take a fairly modest black-and-white horror film from 1963 and amplify it so relentlessly that the sight of the flying cow in Twister would not be all that amiss.
  4. Trouble is, while not trading quips, the characters actually go through the motions of being scared of the croc, menaced by the croc and so on. And since even the gator horror satire is old hat (remember ''Alligator?''), there's no remaining way to make this interesting.
  5. Famuyiwa's dialogue is easygoing and witty, and the warmhearted comic performances mesh beautifully.
  6. Kubrick left one more brilliantly provocative tour de force as his epitaph.
  7. A nifty example of how to make something out of nothing. Nothing but imagination, and a game plan so enterprising it should elevate its creators to pinup status at film schools everywhere.
  8. Instead of sending up their cinematic sources, the creators of Muppets From Space rely too much on this spent screen fuel. Frenetic movement and loud music overwhelm warmth and compassion, and the balance of character, plot, irreverent humor and innate decency that made some of the earlier Muppet movies so welcome is lost.
  9. While this film's conception of a terrorist threat is apparent early on, its strength lies in a string of ingenious little surprises.
  10. Among this year's bumper crop of shallow teen-age movies, it is the shallowest and the most prurient.
  11. If Assayas doesn't always transport his film's events beyond the all too commonplace, his understatement can also yield moments of quiet simplicity.
  12. This film, like the dazzling but many-tentacled "He Got Game" before it, makes up in fury much of what it lacks in form.
  13. It cares far more about herding audiences into theaters than about what they hear or see.
  14. Very funny, extremely obscene movie spinoff from the popular animated Comedy Central series.
  15. The Dinner Game, which Veber wrote and directed, is one of his better-constructed comedies of errors.
  16. It's a flimsy sentimental comedy with more product plugs and fewer laughs than might have been hoped for.
  17. It proves to be one of the more exotic blooms in the Disney hothouse, what with voluptuous flora, hordes of fauna, charming characters and excitingly kinetic animation that gracefully incorporates computer-generated motion.
  18. Life at the top has rarely looked or sounded more fabulously elegant.
  19. Tykwer deliberately blows away all traces of the mundane and the familiar, so that not even the closing credit crawl moves in the expected way.
  20. Travolta again carries a film with enjoyable ease, even if this one remains badly diminished by its perverse streak.
  21. Wants to make a grand statement about the mystical power (both celestial and demonic) of great music. But give or take some scattered musical moments, the frame in which that message is couched is too kitschy to let that vision catch fire.
  22. Several love beads short of its predecessor. Intermittently hilarious comedy.
  23. The concert scenes find the stage awash in such intense joy, camaraderie and nationalist pride that you become convinced that making music is a key to longevity and spiritual well-being.
  24. The medium is more palatable than the saccharine message because Hopkins and Gooding know how to put on a show.
  25. If this oddly structured film feels like two short stories stuck together, there is enough solid glue joining them that they resonate off one another deeply.
  26. Repackaged as cyberthriller, the old time-travel adventure returns in this stylish but overplotted and ultimately illogical combination of science fiction, mystery and romance.
  27. The movie has lots of glossy charm even if Ms. Roberts and Grant seem less like lovers than members of a support group for the desperately attractive.
  28. Much of the film is a nearly wordless tone poem that sustains an intense emotional gravity and sexual tension through its mixture of music, beautiful outdoor cinematography and somber, silent acting.
  29. All things being relative, this is a dreamy, lulling film but also a more concise and straightforward one than the magnificently grandiose Ulysses' Gaze, the Angelopoulos opus that directly preceded it.
  30. It's up to snuff. It sustains the gee-whiz spirit of the series.

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